Style Practice Pieces for the Erhu, 158 Pieces

Author: Wang Guotong, Zhao Hanyang
Publisher:
Publish Date: 1994-01-01
Features: China is a vast country with a large population. Due to the differences in natural and geographical environments across various regions, people exhibit significant variations in their lifestyles, accents, customs, and aesthetic awareness, leading to the formation of diverse musical styles. Particularly in regional opera music, influenced by different local folk music traditions, each style possesses its unique characteristics. As a erhu player and learner, while mastering pitch accuracy, rhythm, tone production, and various techniques, as well as musical expression, it is also essential to grasp different musical styles, including specific glissandos, ornaments, vibrato, and variations in bowing techniques. The application of these directly relates to the expressiveness and artistic charm of erhu performance. Therefore, practicing techniques for different styles is an indispensable and crucial part of erhu performance art and teaching. This book compiles 158 practice pieces, including excerpts from and original compositions in 30 distinct musical styles such as Peking Opera, Ping Opera, Hebei Bangzi, Hebei Hahahaha, Sichuan String Opera, Shadow Opera, Wuyin Opera, Liuzi Opera, Lü Opera, Jiangnan Silk and Bamboo Music, Kunqu Opera, Xisheng Opera, Yang Opera, Huai Opera, Lü Opera, Yue Opera, Guangdong Music, Cantonese Opera, Jinzhong Yangge, Shanxi Bangzi, Yu Opera, Henan Qu Opera, Qin Opera, Feihu Opera, Hunan Huaguxi, Inner Mongolia Ertai, Caidiao Opera, Yunnan Huadeng Opera, and Xiang Opera. To help readers better grasp the stylistic features of the pieces in this book, each practice piece is annotated with detailed bowing, fingering, and glissando/ornament symbols. By practicing according to the specified symbols in the pieces, performers will gain a deeper understanding of the stylistic characteristics and inherent charm of the music. Due to space constraints, this book only includes a portion of the diverse regional opera music styles in China, and its content is neither comprehensive nor systematic. To establish a scientific and systematic erhu teaching material system as soon as possible, it is hoped that the publication of this book can serve as a starting point, gradually enriching and broadening the content of erhu style practice materials. Let us work together to advance the development of erhu art hand in hand.